There is a noticeable recklessness in
Personal Velocity, but not necessarily an
annoying one. This is primarily because of the
low-budget, but it should be noted that the film
isn’t anywhere near close to careless. When
viewing, I was enthralled in the three main
characters; the use of digital video wasn’t a
distraction. Writing and directing are clearly the
strong suits of Personal Velocity, and help
us stray from noticing the dreadful assembly. This
is a victory for Rebecca Miller as a writer, but
it’s a miserable failure for her as a director.
But, in the scheme of things, can we really blame
Miller for the many errors in the direction? She
probably wouldn’t have been able to bring these
three miraculous stories to the big screen,
without a low-budget, which is mainly what flaws
Personal Velocity. This is a respectable
work in the world of independent film, but not
much more than that. I can respect its beautiful
writing and tremendous acting, which are
definitely what keep Personal Velocity
afloat.
Personal Velocity is an intriguing
adaptation of three of seven stories in Miller’s
book of shorts. These are the stories of three
different women, whose lives are all loosely tied
together by a hit and run accident that they all
heard about. Each story is approximately thirty
minutes long, making up a short and fast-paced,
but effective 90 minute character study. I just
received my copy of the literary version of
Personal Velocity, and to be honest, I cannot
wait to read it.
The first story told is Delia’s (Kyra
Sedgwick). As a teenager, Delia was always
ignored, and gained the infamous reputation of
being the high school slut. To accompany the clips
of her younger days, we get absolutely ridiculous
narration by John
Ventimiglia, describing her sexual traits. For
example: “Delia’s ass was so big, the guys
couldn’t stop squeezing it, and they had to be
around it all the time.” Show us the big ass;
don’t just talk about it, would you please? Soon
after her high school days, she married. She and
her husband had three kids. He begins to abuse
her, and their relationship falls into a
bottomless pit. One day, when she can’t take the
pain anymore, Delia and her children hit the road.
Where should she go?
Second up comes Greta (Paraker Posey). Greta
is a happily married, cookbook editor. She knows
that her husband will always be faithful to her.
But things take a wrong turn when she has dinner
with a leading writer, he asks her to edit his
book (this time it’s a real novel, not just
instructions on when to add margarine into cookie
dough). She willingly accepts. The massive amounts
of time she spends with him, supposedly editing
his book, turn into sexual side trips. She is
having an affair! She will no longer be able to
stay faithful to her husband, in the same way that
he is to her. How will she explain for this?
Third, and lastly, is the story of Paula (Fairuza
Balk). Paula is a pregnant woman, in a messy
affair with a lover she desperately wants to
escape from. When she hits the road one day,
trying to leave the world behind, with nowhere to
go except her mother’s house, she comes across a
wounded hitchhiker on the roadside. He appears to
be a nice guy, even though sad, and brutally
injured. Paula offers him a ride, not knowing
where to take him. He accepts. Their questionable
association with each other is perfectly captured
by remarkable acting. What will become of these
two?
My favorite of the three stories is the
second, even though the most accomplished is
undoubtedly the third. In Greta’s thirty minutes,
much of the skit’s character’s feelings are let
out. It is the most reflective of the three
pieces, which I like. It is also the most
well-written area of the film. The best acting is
found in the third act, however. Balk’s stunning
portrayal of Paula is flawless, and is deserving
of the utmost recognition. The story of Delia,
which I haven’t commended as much as the others,
is definitely watchable, but didn’t do much for
me. I was amused, but I wasn’t moved.
If there is one point that Personal
Velocity is trying to get across, it’s that we
all live our lives at different paces, and only
those whose speeds agree will get along with each
other. Each of the three women in the stores have
different personal velocities (zero, slow, and
fast is the most accurate description). The
premise is fascinating. I’m really not sure if a
better look would’ve helped Personal Velocity.
It wouldn’t have had the same mood, even though by
definition, it would be flawless. The grainy
appearance puts emphasis on the different speeds
that each of the characters live their lives at.
Let’s just rely on John Mellencamp to settle this.
“It hurts so good.”
An absolute wonder, Personal Velocity
is an above average achievement, but not a
superior one. It kept me captive during the short
duration, and was a fully engaging experience, but
I’m not sure it will have a lasting endurance.
When looking back at two-thousand-and-two, I will
remember several movies, and Personal Velocity
will be one of them. I’m not sure if it changed my
life, but it is unquestionably memorable.
Comparisons to The Hours and word of mouth
are what ultimately helped this one out of the
development stages. This film is no where near as
good as The Hours, if you’re wondering.
But, for the record, it was deserving of
the proper release that it received.
-Danny, Bucket Reviews